Featuring her biggest commercial success “Eu Sei Que Vou Te Amar”, this is Elza’s debut album after about 30 singles since 1951. Arranged and conducted by Henrique Simonetti, it features the first recordings of Estou Amando Azul, Quando Te Achei and Um Minuto Só as well as the only recordings of Cuidado Coração and Podem Falar.

Featuring her biggest commercial success “Eu Sei Que Vou Te Amar”, this is Elza’s debut album after about 30 singles since 1951. Arranged and conducted by Henrique Simonetti, it features the first recordings of Estou Amando Azul, Quando Te Achei and Um Minuto Só as well as the only recordings of Cuidado Coração and Podem Falar.

One of the finest singers of her time and one of the finest albums of the era – a master’s class of immaculate beauty and perfection.

Such a pity that this was also Elza’s final solo effort. However, she certainly ended her career with a bang since this is a landmark album showing her at the height of her refined artistry backed by exquisite arrangements by Waldemiro Lemke, Erlon Chaves and Ruben Perez ‘Pocho’.

Besides, this album is noteworthy for introducing four songs by Jobim/Moraes on record:

The iconic “Só Danço Samba” and “Samba do Avião”, released on single in October 1962 before included on this album, were introduced in August 1962 by Antônio Carlos Jobim, Os Cariocas and João Gilberto in the historical concert series later bootlegged as “O Encontro au ‘Bon Gourmet’” before featured in the movie Copacabana Palace in November 1962, thus after Elza’s release.

In addition, this album features the first recordings of “Canção em Modo Menor” and “Andam Dizendo” and the first and only recording of “Valsa do Amor de Nós Dois”.

One of the finest singers of her time and one of the finest albums of the era – a master’s class of immaculate beauty and perfection.

Such a pity that this was also Elza’s final solo effort. However, she certainly ended her career with a bang since this is a landmark album showing her at the height of her refined artistry backed by exquisite arrangements by Waldemiro Lemke, Erlon Chaves and Ruben Perez ‘Pocho’.

Besides, this album is noteworthy for introducing four songs by Jobim/Moraes on record:

The iconic “Só Danço Samba” and “Samba do Avião”, released on single in October 1962 before included on this album, were introduced in August 1962 by Antônio Carlos Jobim, Os Cariocas and João Gilberto in the historical concert series later bootlegged as “O Encontro au ‘Bon Gourmet’” before featured in the movie Copacabana Palace in November 1962, thus after Elza’s release.

In addition, this album features the first recordings of “Canção em Modo Menor” and “Andam Dizendo” and the first and only recording of “Valsa do Amor de Nós Dois”.

Probably Elza’s most diverse album with gorgeous versions of Água de Beber, Devaneio and Ninguém É de Ninguém, it features some arrangements that can also be heard on Héctor Costita’s alias album “Sambas – Don Júnior e Seu Sax Maravilhoso” released later that year.

Comparing Sei, Em Hora Errada and Água de Beber suggests that RGE did not content themselves with just reutilising Henrique Simonetti’s arrangements but simply reused the audio tracks from Elza’s recording session.

Also, this album includes the first recordings of Maior Que a Saudade, O Pranto da Chuva, Ternurinha and Ninguém and the only recordings of Eu Nem Me Lembro Mais de Ti and Quando.

Probably Elza’s most diverse album with gorgeous versions of Água de Beber, Devaneio and Ninguém É de Ninguém, it features some arrangements that can also be heard on Héctor Costita’s alias album “Sambas – Don Júnior e Seu Sax Maravilhoso” released later that year.

Comparing Sei, Em Hora Errada and Água de Beber suggests that RGE did not content themselves with just reutilising Henrique Simonetti’s arrangements but simply reused the audio tracks from Elza’s recording session.

Also, this album includes the first recordings of Maior Que a Saudade, O Pranto da Chuva, Ternurinha and Ninguém and the only recordings of Eu Nem Me Lembro Mais de Ti and Quando.